John Singer Sargent 











RETROSPECTIVE EXHIBITION OF 
IMPORTANT WORKS 





of 
JOHN SINGER SARGENT 


FEBRUARY 23rp 


to 


MARCH 22nbd 
1924 


Od 
& 


GRAND CENTRAL ART GALLERIES 


GRAND CENTRAL TERMINAL 
[ TAXICAB ENTRANCE ] 


15 °>UANDERBILT AVENUE NEW YORK CITY 














oF ree right ve by Painters and Sculptors Gallery Asso 
ights r served or all countries. :: Printed in the ae cS tes 
ne Photographs ee A. Juley & Son 


GRAND CENTRAL ART GALLERIES 


15 Vanderbilt Avenue 
New York City 


TRUSTEES 
Joun G. Acar Irvine T. Bus 
Wa .TeER L. CLARK Rosert W. DEForeEstT 
WititamM A. DELANO WaLter S. GIFFORD 


Frank G. Locan 


OFFICERS 
President . G2. « <0 uh Ss Gee ats VAI pele Gray 
Vice President’ . . . . 22 a ROsERT WeDehoresr 
Secretary and Treasurer . . . . Watrer S. GirrorD 





FOREWORD 


HE Painters and Sculptors Association is a non-profit-bearing organization 
| established solely to further interest in American Art, and to increase the 
sales of the work of the living American Painter and Sculptor. The Asso- 
ciation is one of contributing artist members and subscribing lay-members, num- 
bering about one hundred and fifty each. This membership is not local; the artists 
are from various regions extending from coast to coast, while the lay-group is 
composed of those interested in Art in all of the larger cities of the United States, 
and including Presidents and Vice-Presidents of ten of the great Museums, together 
with many officers and directors of these Institutions. There are representatives 
from New York, Boston, Philadelphia, Brooklyn, Rochester, Buffalo, Washington, 
D. C., Baltimore, Norfolk, Atlanta, Montclair, Newark, Cleveland, Canton, 
Dayton, Akron, Aurora, Chicago, Moline, Rockford, Joliet, Detroit, Milwaukee, 
Minneapolis, St. Louis, Kansas City, Denver, Los Angeles and San Francisco. 
This makes of the Painters and Sculptors Association a national organization in 
its extent and far-reaching in its interest. This makes it a clearing house and not 
merely a local sales place. 

According to the plan of the organization of the Painters and Sculptors Asso- 
ciation, each of the lay-members has pledged an annual subscription of six-hundred 
dollars for three years, thus providing for that period a subsidy. Each of the artist 
members presents to the association, as his membership fee, one of his works a 
year, for three years, this period having been agreed upon as a proper duration to 
test the practicability of the plan. At the end of the year each of the lay-members 
has the privilege of receiving one of the works of the Artist-members. 

Delano and Aldrich, architects, have designed and planned the Galleries, 
numbering at present fourteen. The galleries as they are now open to the public 
constitute the largest and handsomest salesrooms in either Europe or America, 
and there is no other place where the work of so many American artists can be seen 
or where the exhibit can constantly rotate and yet maintain its high standard of 
excellence. In the eleven months during which they have operated they have been 
visited by over 110,000 people. In this time it has been demonstrated conclusively 
that a sales place may partake of the excellence of standard, the beauty of installa- 
tion, the atmosphere, the character, and the dignity of a modern museum and yet 
impart quite another form of message. Ownership, and the joy of possession, are 
the elements in the psychology of the Painters and Sculptors Association. 


The Association is under the direction of seven men who are nationally known 
as business executives, and who contribute their time and experience absolutely 
without remuneration. 


The sales during the past months have been most encouraging. A number of 
portrait commissions have been placed, while important paintings and bronzes 
were installed in leading museums. 


The First Annual Exhibition, and several of the series of one-man exhibitions 
have been given and will be followed by more. Several out-of-town exhibitions 
have been held, when the number of sales was most flattering. Pictures were 
assembled and shipped from this gallery to Rome. Assistance was rendered the 
National Academy of Design, the Corcoran Biennial, and the Pennsylvania 
Academy of Fine Arts, The Art Institute of Chicago, and The Carnegie Institute 
at Pittsburgh in their exhibitions this season. 











LAY MEMBERS 


NEW YORK CITY 


Mr. John G. Agar 

Mr. Bartlett Arkell 

Mrs. Harry Payne Bingham 
Mr. John Mc E. Bowman 
Mr. Irving T. Bush 

Mr. Gale Carter 

Mrs. Joseph H. Choate 
Miss Mabel Choate 

Mr. Walter L. Clark 

Mr. Wm. H. Clarke 

Mrs. Otto Kahn 

Mr. L. A. Osborne 

Mr. George Foster Peabody 
Mrs. Willard Straight 

Mr. H. B. Thayer 

Mr. Hector W. Thomas 
Mr. Louis C. Tiffany 

Mrs. W. K. Vanderbilt 
Mr. Felix Warburg 

Mr. Paul Warburg 

Mr. E. E. Bartlett 

Mr. L. M. Boomer 

Mrs. Clarkson Cowl 

Mr. William A. Delano 
Engineer’s Club 

Mr. Victor Guinzburg 

Mr. Henry W. Cannon 
Mr. William H. Davis 

Mr. Robert W. DeForest 
Mr. Daniel Chester French 
Mr. Henry J. Fuller 

Mr. Walter S. Gifford 

Mr. Joseph P. Grace 

Mr. John R. Gregg 

Mrs. E. H. Harriman 

Mr. August Heckscher 

Mr. Archer M. Huntington 





CHICAGO, ILL. 


Mr. Albert Brunker 

Mr. Edward B. Butler 
Mr Rw ls Cranes Jr 

Mr. Bernard A. Eckhart 
Mr. Percy B. Eckhart 
Mr. William O. Goodman 
Mr. E. T. Gundlach 

Mr. Charles L. Hutchinson 
Mrs. John E. Jenkins 
Mr. William V. Kelley 
Mr. R. P. Lamont 

Mr. Frank G. Logan 





Mr. Potter Palmer 

Mr. Julius Rosenwald 
Mr. Martin A. Ryerson 
Mr. E. F. Selz 

Mr. B. E. Sunny 

Mr. Harold H. Swift 

Mr. L. L. Valentine 

Mr. Charles H. Worcester 
Mr. Charles A. Munroe 





BOSTON, MASS. 


General Butler Ames 
Mrs. Oakes Ames 

Dr. Richard C. Cabot 
Mr. William A. Gaston 
Mr. John Singer Sargent 
Mr. Edward C. Storrow 


NEWARK, N. J. 


Mr. Joseph S. Isidor 
Mr. Louis Bamberger 


MONTCLAIR, N. J. 


Mrs. Henry Lang 


PHILADELPHIA, PA. 


Mr. Morris R. Bockius 
Mrs. Charles Heber Clark 
Mr. W. M. Elkins 

Mr. William P. Gest 

Mr. Samuel Rea 

Mrs. Edward T. Stotesbury 


HAZELTON, PA. 


Sis 


AURORA, ILLINOIS 


Mr. Alvan Markle, Jr. 


LOUIS, MO. 


Mr. William K. Bixby 
Mr. Edward A. Faust 
Mr. Edward Mallinckrodt 
Mr. Wallace D. Simmons 


Mr. Frederick G. Adamson 
Mr. James M. Cowan 
Captain J. F. Harral 

Mr. David B. Piersen 

Mr. Albert M. Snook | 
Mr. Wiley W. Stephens . 








WASHINGTON, D. C. 
Mr. Charles C. Glover 


Mr. James E. Parmelee 


NASHVILLE, TENN. 
Major E. B. Stahlman 


INDIANAPOLIS, IND. 
Mrs. John N. Carey 


Friends of American Art 
Miss Lucy M. Taggart 
Mrs. Thomas Taggart 
Mrs. H. B. Burnet 
ROCKFORD, ILLINOIS 


Mrs. William Hinchliff 
Mrs. D. M. Keith 
Mrs. George D. Roper 
Dr. Louis A. Shultz 
AKRON, OHIO 


Mr. Edwin C. Shaw 


MILLBROOK, N. Y. 
Mrs. Walter S. Beck 


MINNEAPOLIS, MINN. 
Wire tele. Carpenter. 
Mr. John R. VanDerlip 
JOLIET, ILLINOIS 
Mr. Theodore Gerlach 


BUFFALO, N. Y. 
Mr. Charles Clifton 


KEWANEE, ILLINOIS 
Mr. W. H. Lyman 


KANSAS CITY, MO. 
Mr. Albert R. Jones 


NORFOLK, VIRGINIA 
Mrs. William Sloane 


LOS ANGELES, CALIFORNIA 
Mr. Paul R. Mabury 


DUBUQUE, IOWA 
Mr. W. H. Klauer 


PITTSBURGH, PA. 


Miss Helen C. Frick 
Mr. Howard Heinz 





CLEVELAND, OHIO 


Mr. Salmon P. Halle 
Mr. Samuel Mather 
Mr. ‘J: H. Wade 


DETROIT, MICHIGAN 
Mr. Edsel B. Ford 
Mr. Richard H. Webber 


ROCHESTER, N. Y. 
Mr. George Eastman 


MILWAUKEE, WISC. 
Mr. Ernest Copeland 
Mr. William H. Schuchardt 
Mr. Walter W. Lange 
DAYTON, OHIO 
Mr. J. B. Hayward 


BALTIMORE, MD. 
Mr. Van Lear Black 


DULUTH, MINN. 
Mr. George P. Tweed 


CANTON, OHIO 
Mr. Wendell Herbruck 
Mr. William S. Kinney 


ATLANTA, GEORGIA 
Mr. J. J. Haverty 


DENVER, COLORADO 
Mrs. Junius Flagg Brown 


SAN FRANCISCO, CALIF. 
Mr. Templeton Crocker 


MOLINE, ILLINOIS 
Mrs. Burton F. Peek 


ST. PAUL, MINN. 
Mr. Louis W. Hill 


TOLEDO, OHIO 
Mr. Edward Drummond Libbey 


STOCKHOLM, SWEDEN | 
Honorable Robert Woods Bliss 


BROOKLYN, N. Y. 
Mr. John Hill Morgan 





WHIDBY ISLAND, WASHINGTON 


Mr. Frank J. Pratt, Jr. 











|] 5 Fr 




















PAINTER MEMBERS 


Mr. John Singer Sargent 
Mr. Charles W. Hawthorne 


Mr. Chauncey F. Ryder 
Mr. Frank W. Benson 
Mr. Edwin Blashfield 

Mr. W. Elmer Schofield 
Mr. Oliver Dennett Grover 
Mr. Edmund Greacen 
Miss Helen Turner 

Mr. Gardner Symons 

Mr. Ezra Winter 

Mr. Irving R. Wiles 

Mr. John C. Johansen 

M. Jean McLane 

Mr. Daniel Garber 

Mr. R. Sloan Bredin 

Mr. Elliott Daingerfield 
Miss Felicie Waldo Howell 
Mr. Ernest Ipsen 

Mr. Murray P. Bewley 
Mr. Francis C. Jones 

Mr. Harry Watrous 

Mr. George Elmer Browne 
Mr. Edward H. Potthast 
Mr. Albert Groll 

Mr. Frederick J. Waugh 
Mr. Ralph Clarkson 

Mr. Leopold Seyffert 

Mr. John Sloan 

Miss Cecilia Beaux 

Mr. Roy Brown 

Mr. E. Irving Couse 

Miss Lillian Genth 

Mr. Douglas Volk 

Mr. G. Glenn Newell 

Mr. Charles Warren Eaton 
Mr. Harry A. Vincent 
Mr. Victor Higgins 

Mr. Leon Gaspard 

Mr. Wilson Irvine 

Mr. Charles H. Woodbury 
Mr. George H. Hallowell 














Mr. Frederick Ballard Williams 


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. Birge Harrison 

. H. Dudley Murphy 

. Karl Anderson 

. Leslie P. Thompson 

. Charles Hopkinson 
ePhilip liHale 

s. Lilian Westcott Hale 
. Cullen Yates 

. Ernest L. Blumenschein 
. Guy Wiggins 

. William Wendt 

. Ivan G. Olinsky 

. Henry W. Parton 

. Robert W. Chanler 

. Walter Ufer 

. Edward C. Volkert 

. Hobart Nichols 

. Alson Skinner Clark 

. Max Bohm (deceased) 
. Henry R. Rittenberg 
. Eugene F. Savage 

. John Noble 


Miss: Anna Fisher 


. John R. Folinsbee 

. Karl A. Buehr 

. Van Dearing Perrine 

. William Baxter Closson 
. Albert Sterner 

. Charles H. Davis 

. Paul Dougherty 


Mr. Ben Foster 
Mr. Charles S. Chapman 


. Louis Ritman 

. Putnam Brinley 

. Charles Morris Young 
. Wayman Adams 

. John F. Carlson 

. Henry B. Snell 

. Hugh Breckenridge 

. Paul King 

. Henry O. Tanner 

. Horatio Walker 














PAINTER MEMBERS 


Mr. Louis C. Tiffany 
Mr. Joseph Pennell 
Mr. F. C. Frieseke 
Mr. Frederic M. Grant 
Mr. Carl Krafft 

Mr. Francis Newton 
Mr. Julius Rolshoven 
Miss Pauline Palmer 
Mr. John Costigan 
Mr. Clark Voohrees 
Mr. H. Bolton Jones 
Miss Gertrude Fiske 
Mr. Maurice Fromkes 
Mr. Percival Rosseau 


Mr. F. Luis Mora 


Mr. Leonard Ochtman 
Miss Dorothy Ochtman 
Mr. Arthur Crisp 

Mr. Richard E. Miller 
Mr. Paul M. Gustin 
Mr. James R. Hopkins 
Mr. Edward W. Redfield 
Mr. Randall Davey 

Mr. Ettore Caser 

Mr. Nicolai Fechin 
Mrs. James W. Hailman 
Mr. A. H. Gorson 

Mr. Eugene Higgins 
Mr. Ossip Linde 

Mr. Robert Reid 


SCULPTOR MEMBERS 


Mr. Herbert Adams 

Mr. Robert Aitken 

Mr. Daniel Chester French 
Mrs. Anna Hyatt Huntington 
Miss Malvina Hoffman 

Mr. Chester Beach 

Mr. Frederick MacMonnies 
Mrs. Evelyn B. Longman Batchelder 
Mr. James E. Fraser 

Mr. Lorado Taft 

Mr. Sherry Fry 

Mr. Edward McCartan 

Mr. Cyrus E. Dallin 

Mrs. Bessie Potter Vonnoh 
Mr. Attilio Piccirilli 

Miss Janet Scudder 

Mrs. Laura Gardin Fraser 
Mr. Albin Polasek 





Miss Harriet W. Frishmuth 
Mr. Mario Korbel 

Mr. Mahonri Young 

Mr. John Gregory 

Mr. Victor Salvatore 

Miss Renee Prahar 

Mr. Gutzon Borglum 

Mr. Paul Jennewein 

Mr. R. Tait McKenzie 

Mr. Edward Berge 

Mrs. Lucy Perkins Ripley 
Mrs. Anna Coleman Ladd 
Mr. A. Phimister Proctor 
Mr. Arthur Putnam 

Mr. Henry K. Bush-Brown 
Mrs. Edith Barretto Parsons 
Mrs. Margaret French Cresson 
Miss Grace Mott Johnson 





























cAn Appreciation 


N EXHIBITION of the works of 
Mr. John Sargent is the most im- 
portant event of the kind that 

could at this moment happen anywhere, 
as he is the foremost living painter in the 
world. So far as one can judge the work 
of a contemporary, one is justified in 
predicting immortality for these composi- 
tions. Sargent belongs among the great 
portrait painters of all time, his pictures 
revealing the mysterious but unmistak- 
able stamp of genius. In fact, everything 
he does shows this quality, which makes 
his painting the envy of competitors, and 
the pride and glory of American art. He 
has no successful living rival, but is in a 
class by himself. So true is this, that if I 
were asked to name the greatest living 
American, I should unhesitatingly name 
John Singer Sargent. 


This Exhibition is for the benefit of 
the Endowment Fund of the Painters and 
Sculptors Gallery Association, with which 
Mr. Sargent has from the beginning been 
in active cooperation. 


William Lyon Phelps 











Masters of American “Paintings” 


Charles Caffin 
Courtesy of Doubleday Page & Company, 1902 


“JOHN Singer Sargent has been a favored child of the Muses, and early reached 
a maturity for which others have to labour long and in the face of disappoint- 
ments. He, however, has never had anything to unlearn. From the first he 

came under the influence of taste and style, the qualities which to this day distin- 

Guism his work. . . +. With a facility that was partly a natural gift, partly the 

result of a steady acceptance of the problems presented, he proceeded to absorb 
his master—Carolus-Duran. Sargent absorbed his breadth of picturesque style, 
his refined pictorial sense, his sound and scientific method, not devoid of certain 
tricks of illusion and his piquant and persuasive modernity. ... . Later, Sargent 
visited Madrid, and came under the direct spell of Velasquez. The grand line he 
had learned while a boy, and from Carolus the seeing of colour as coloured light, the 
modelling in planes, the mysteries of sharp and vanishing outlines appearing and 
reappearing under the natural action of light, a realism of observation at once 
brilliant and refined, large and penetrating. Finally, from all these influences, 
Sargent has fashioned a method of his own. 


“How shall one describe the method? It reveals the alertness and versatility 
of the American temperament. Nothing escapes his observation, up to a certain 
point at least; he is never tired of a fresh experiment; never repeats his composi- 
tions and schemes of colour, nor shows perfunctoriness or weariness of brush. In 
all his work there is a vivid meaningfulness; in his portraits, especially, an amazing 
suggestion of actuality. On the other hand, his virtuosity 1s largely French, reach- 
ing a perfection of assurance that the quick witted American i is, for the most part, in 
too great a hurry to acquire; a patient perfection, not reliant upon mere impression 
or force of temperament. In the abounding resourcefulness of his method there is 
a mingling of audacity and conscientiousness; a facility so complete that the acts 
of perception and of execution seem identical, and an honesty that does not shrink 
from admitting that such and such a point was unattainable by him, or that to 
have obtained it would have disturbed the balance of the whole. Yet, this vir- 
tuosity, though it is French in character, is free of the French manner, as “indeed of 
any mannerism. This skill of hand is at the service of a brilliant pictorial sense. 
Like a true painter, he sees a picture in everything he studies. It gives to each 
of his canvases a distinct aesthetic charm; grandiose in some, ravishingly elegant 
in others, delicately quaint in a few, but all of them variously characterized by 
grandeur of line, suppleness of arrangement, and fascinating surprise of detail; 
used with extraordinary originality, but always conformable to an instinctive 
sense of balance and rhythm. 


“Sargent is not of the world in which he plays so conspicuous a part, but pre- 
serves an aloofness from it and studies it with the collectedness of an onlooker 
interested in the moving show and in its general trends of motive, but with an 
individual sympathy only occasionally elicited. Sargent has his grip upon the 
actual, and while in relation to the world and people about him he is almost a 
recluse, he has delighted his imagination with the seemings and shows of things 
and with their material significance.” 


Modern Artists 


Christian Brinton 
Courtesy of Doubleday Page & Company—The Sun, 1908 


a EYOND all question Sargent is the most conspicuous of living portrait 
painters. Before his eyes pass in continuous procession the world of art, 
science, and letters, the world financial, diplomatic, or military, and the 


world frankly social. To-day comes a savant, a captain of industry, or a slender, 
troubled child. Tomorrow it will be an insinuating Semetic Plutus; next week may 
bring some fresh-tinted Diana, radiant with vernal bloom. Everyone from poet to 
general, from duchess to dark-eyed dancer, finds place in this shifting throng...... 


“With the entrance of Sargent into the arena of art cherished conventions 
disappear in sorry discomfiture. With a dignity and a technical mastery which 
compel both respect and enthusiasm he tramples upon tradition whenever tradition 
stands in his way. It 1s useless to scan these canvases in the hope of finding vari- 
ous qualities which for centuries have been deemed the touchstone of portraiture. 
Contemplation and reflection are by no means the rule. That adjustment of diverse 
elements which makes for balanced composition is often lacking. That endearing 
love of tone for its own sake is frequently absent. The vigorous outline of Holbein, 
the rich sobriety of Titian, or the permeating magic of Leonardo find but faint 
echo in the work of this modern innovator. With almost disdainful independence 
he has declined to repeat the triumphs of the great forerunners. In place of their 
ideals he has substituted ideals which are resolutely his own. However you may re- 
gard his contribution, it is impossible not to recognize its insistent novelty. Once in 
possession of the underlying facts, there should be no trouble in reading aright the 
salient, positive art, this art which by turns persuades and repels. Yet one cannot de- 
vine just why these high- bred women are so animated, or why the soldiers and states- 
men are so emphatic, without first peering beneath the exterior. Though Sargent 
may himself remain dexterously on the surface, the spectator cannot. It is not 
enough to watch this conjurer perform his trick; we must see how it is accomplished. 


“So dazzled has the majority been by what is called the man’s cosmopolitan- 
ism that the real racial basis of his nature has been over-looked........ Sargent 
is American in his fundamental instincts. His adaptability and his very lack of 
marked bias bespeak the native complexity of his origin. It cannot for a moment 
be maintained that the French paint themselves as Sargent paints them, or the 
English either. His art is neither Gallic nor British, it is American, and the chief 
reason why it is so different from most Anglo-Saxon art 1s because it 1s so superior, 
not because it is unAmerican. In any case the sense of motion remains Sargent’s 
personal conquest, possibly, even, his chief contribution to portraiture. 


“In Sargent’s portraits women are in the act of starting from their chairs and 
men are on the very point of speaking. Here is a dancer whose yellow skirt still 
swirls in elastic convolutions; there stands a painter lunging at the canvas with 
sensitively poised brush. All is restless, vivid, spontaneous. One and all these 
creatures vibrate with the nervous tension of the age. Other artists have given 
calm, or momentarily arrested motion. Sargent gives motion itself. With a 
technique facile as it is assertive this magician of the palette, this paganini of 
portraiture, has lured us into a new world, a world which we ourselves know well 
—perhaps too well—but a world hitherto undiscovered by painting.’ 


«| 10 | 


eArt and Common Sense 


By Royal Cortizzoz 
Courtesy of Scribner & Son, 1913 


sympathetic to new ideas, but not at all inhospitable to old ones. While he 

emerged from his master’s studio a modern in the best sense of the term, it 
was with a vein of conservatism in him which has never disappeared. Of how 
many modern painters, endowed, as he has been, superabundant technical bril- 
liance, could it be said that they have never exceeded a certain limit of audacity? 
I know of no canvas of his which could fairly be called sensational. One of the 
least conventional of painters, his art nevertheless remains adjusted to the tone 
and movement of the world in which he lives—surely a fine example of genius 
expressing its age. 

“People complain that Sargent violates the secret recesses of human vanity, 
and brings hidden, because unlovely, traits out into the light of day; that his 
candor with the brush is startling, to say the least, and sometimes even perilous. 
He is accused not simply of painting his sitter, ‘wart and all,’ but of exaggerating 
the physical or moral disfigurement. If this is true there is ” something humorous 
in the spectacle, which is constantly being presented, of men and women running 
Reerisk 2 sae. Few of his sitters, seem, as we see them on the canvas, to have 
been passive in his hands. The electric currents of a duel are in the air. Char- 
acter has thrown down its challenge, the painter has taken it up, and the result is 
a work in which character is fused with design, playing its part in the artistic unit 
as powerfully, and almost as vividly, as any one of the tangible facts of the portrait. 

“In the light of the long procession of portraits which he has put to his credit, 
it seems to me that if there is a living painter in whose interpretations of character 
confidence can be placed, it is Sargent. His range is apparently unlimited. He 
has painted men and women in their prime and in their old age, and in whatever 
walk of life he has found them, he has apprehended them with the ‘seeing eye’ 
thamisshalf*the battle........ It is worth noticing that it is not his portraits of 
men, but in his portraits of women, who illustrate far more histrionically the ner- 
vous tension of the age, that Sargent has painted his most unconventional com- 
positions. When his subject has permitted him to exchange nervousness for 
repose, with what felicity he has seized his opportunity! There is not in modern 
portraiture a more satisfactory study in dignity and noble stateliness than his 
‘Mrs. Marquand.’ (Shown in this exhibition) 

“Sargent is himself in his reading of character in his design, and in his style. 
To say this is not to forget his indebtedness, where style is concerned, to other 
painters, even, Carolus-Duran. I think there is something of Carolus-Duran in 
his mere cleverness which like so much that is fluent and self- possessed in modern 
craftsmanship, could have been developed in Paris and nowhere else. The broad 
slashing stroke of Hals has taught him something, it is fair to assume; and the 
influence of Velasquez in his work is sufficiently obvious. Yet there is not in all 
his painting the ghost of what it would be reasonable to call an imitative passage. 
He is no more a modern Hals or Velasquez than he is a modern Rembrandt or 
Botticelli, for he looks at life and art from a totally different point of view, not 
simply, or grandly, or tragically, or imaginatively, but with the detached intellec- 
tual curiosity of a man of the world.” 


Gone studying under the wing of Carolus-Duran, was in an atmosphere 


«| iat k 


cAmerican Painting and Its Traditions 


John Van Dyke 
Courtesy of Scribner & Sons, 1919 


s ARGENT did not wholly achieve art, for some of it was born to him, and 
some of it, perhaps, was thrust upon him. Training started him right, but 
his great success is not wholly due to that. Genius alone can account for 

the remarkable content of his work. 


“Sargent’s life has been the result of peculiar circumstances—fortunate cir- 
cumstances some may think; unfortunate others may hold. At least they have 
been instrumental in bringing forth an accomplished painter whose art no one can 
failto admire. That his work may be admired understandingly it is quite necessary 
to comprehend the personality of the artist—to understand his education, his 
associations, his artistic and social environments. For if the man himself is cosmo- 
politan his art is not less so. It is the perfection of world-style, the finality of 
method. 


“Tf I apprehend Sargent rightly, such theory of art as he possesses is founded 
in observation. Some fifteen years ago, in Gibraltar, at the old Cecil Hotel, I was 
dining with him. That night, as a very unusual thing, Sargent talked about 
painting—talked of his own volition. He suggested his theory of art in a single 
sentence: ‘You see things that way’ (pointing slightly to the left) ‘and I see them 
this way’ (pointing slightly to the right). He seemed to think that would account 
for the variation or peculiari i 
sonal method—there was little more to art. Such a theory would place him in 
measured agreement with Henry James whose definition of art has been quoted 
many times: “Art is a point of view, and a genius a way of looking at things.’ 





“A painter who has been looking at human heads for many years sees more 
than the man who casually looks up to recognize an acquaintance on the street. 
I do not mean that he sees more ‘character’—that is more scholarship or conceit, 
or pride of purse or firmness of will or shrewdness of thought, but merely that he 
sees the physical conformation more completely than others do. Every one sooner 
or later moulds his own face. It becomes marked or set or shaped in response to 
continued methods of thinking and acting. When that face comes under the por- 
trait painter’s eye, he does not see the scholar, the banker, the senator, the captain 
of industry; but he does see perhaps, certain depression of the cheek or lines about 
the eyes or mouth in contractions of the lips or protrusions of the brow or jaw that 
appeal to him strongly because they are cast in shadow or thrown up sharply in 
relief of light. These surface features he paints perhaps with more emphasis than 
they possess in the original because they appeal to him emphatically, and presently 
the peculiar look that indicates the character of the man appears. What the look 
may indicate, or what kind of phase of character may be read in or out of the look, 
the portrait-painter does not know or care. ,He paints what he sees and has as little 
discernment of a character as of a mind. He gives, perhaps, without knowing 
their meaning, certain protrusions and recessions of the surface before him and lets 
the result tell what it may. In the production of the portrait accurate observation 
is more than half the battle. Ifa painter sees and knows his subject thoroughly, 
he will have little trouble in telling what he sees and knows; and to say of Sargent 
that he observes rightly and records truly is to state the case in a sentence.” 


«| 12 


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OIL PAINTINGS 


Portrait of Mrs. H. F. Happen (1878). 
Loaned by Mrs. Hadden 


Tue Lapy wirH THE RoseE—My SISTER 
(1882). Loaned by Mrs. Hadden 


“Pointy” (1884). Loaned by Mrs. Hadden 


THE Stmpton. Loaned by Mrs. Montgomery 


Sears 


Portrait of Mayor Hiccinson 
Loaned by Harvard University 


Portrait of Ex-Prestpent CHartes W. Evior 
of Harvard University 


Portrait of PresipEnr Lowe... Loaned by 


Harvard University 
Lake O'Hara. Loaned by Fogg Art Museum 


Portrait of Miss Mary EvizaBetH GARRETT. 
Loaned by Fohns Hopkins University 


Portrait of Mrs. J. Wiritttam Waitre. Loaned 
by Mrs. White 


Portrait of Mrs. Fiske WarREN AND 
Daucuter. Loaned by Fiske Warren, 
Esq. 


Portrait of Mrs. Enpicorr. Loaned by Mr. 


Wm. C. Endicott, Fr. 


Portrait of Mrs. Witit1am Harritey Car- 
NEGIE. Loaned by Mrs. Endicott 


Hts Srupio. Loaned by Museum of Fine 
Arts, Boston 


THE Roapv. Loaned by Museum of Fine 
Arts, Boston 


Master AND Pupits. Loaned by Museum of 
Fine Arts, Boston 


Heap or JosepH JEFFERSON. Loaned by Mr. 
Sargent 


RECONNOITERING. Loaned by Mr. Sargent 


Portrait of JosEpH Putirzer, Esa. Loaned 


by Mrs. Pulitzer 


20 


35 


36 


37 


38 


Portrait of Mrs. Epwarp L. Davis anp HER 
Son, Livineston Davis. 
Mr. Livingston Davis, Boston 


Loaned by 


Portrair or Aa Lapy. Loaned by Mr. 
Augustus P. Loring 
Portrait of Mrs. Aucusrus Hemenway. 


Loaned by Mrs. Hemenway 


Portrait of Eowarp Rosinson, Esa. Loaned 
by Mr. Robinson 


Ecyprian Girt 
Syrian Goats 
SPANISH STABLE 


Camp Fire. 


Fox 


Loaned by Mr. Thomas A. 


Rosert Louis STEVENSON. 
Payne Whitney 


Loaned by Mrs. 


Portrait of Joun Hay, Esa. Loaned by 
Mr. Clarence L. Hay 


Portrait of Miss Apa REHAN. 
Mrs. G. M. Whitin 


Loaned by 


Portrait of Mr. anp Mrs. Fietp. Loaned 
by Pennsylvania Academy of Fine Arts 


Portrait of Mrs. CuHaries E. 
Loaned by Mrs. Inches, Boston 


INCHES. 


Portrait of Mrs. Aprian Iseiin. Loaned 


by Miss Iselin 


THe Honorasrte Mrs. FREDERICK GUEST. 
Loaned by Mrs. Phipps 


Portrait of Mrs. Puipps anp WINSTON. 
Loaned by Mrs. Phipps 


Woop. 


Portrait of GENERAL LEONARD 
Loaned by General Wood 


THE SutpHuR Marcu. Loaned by Mr. Louis 


Curtis 


Sketch of Epwin Booru. Loaned by Mrs. 


Willard Straight 











| 13 & 


39 


40 


41 


45 Portrait of Homer Saint-GAuDENS 


OIL PAINTINGS 


A SrTREET IN VENICE. 
Stanford White 


Loaned by Mrs. 


CYPRESSES AND PINES. 
Gallery 


Loaned by Copley 


Portrait of Mrs. Henry WuitrE — NEE 
MarGAarRET STUYVESANT RUTHERFORD. 
Loaned by Honorable Henry White 


Sketch of Mrs. Henry WuirE — NEE 
MarGARET STUYVESANT RUTHERFORD. 
Loaned by Honorable Henry White 


Portrait of Mrs. Joun J. CHAPMAN. 
by Mrs. Richard Aldrich 


VENETIAN INTERIOR. 
Institute 


Loaned by Carnegie 


AND 
MorHer. Loaned by Mrs. Saint-Gau- 


dens 


GRAVEYARD IN TYROL. 
Treat Paine, 2nd 


Loaned by Robert 


MusseEL GATHERERS. 
roll Beckwith 


Loaned by Mrs. Car- 


Tue FountaIn. 
Chicago 


Loaned by Art Institute of 


60 THe CuHess Game. 
tral Art Galleries 


Loaned~ 


49 


57 Portrait of Mrs. 


58 Portrait of Mr. ann Mrs. 


sg Portrait of Mrs. Maraquanp. 


Portrait of Mrs. CuHarvtes GirrorD Dyer. 
Loaned by Art Institute of Chicago 


Portrait of Mrs. THomas Lincotn Manson. 
Loaned by Mrs. Kiliaen Van Rensselaer 


MoortsH Courtyarp. Loaned by Mr. Fames 
H. Clarke 


VENETIAN BeEapD StrinGERS. Loaned by the 
Buffalo Fine Arts Academy 


InTERIOR— THE CONFESSION. 
Mr. Desmond Fitzgerald 


Loaned by 


Portrait of Miss KATHARINE Pratr. Loaned 
by Mr. Frederick S. Pratt 


Portrait of Mrs. Epwarp D. BRANDEGEE. 
Loaned by Mr. Brandegee 


Portrait of Perer CHarpon Brooks, Esa. 
Loaned by Mrs. R. M. Saltonstall 


Dave H. Morris as A 


Girt. Loaned by Mrs. Morris 


I, N. PHeEtps 
Loaned by Mr. Phelps Stokes 


STOKES. 


Loaned by 
Mr. Allan Marquand 


Property of Grand Cen- 


WATER COLORS 


67 


Pats 

SHapy Patus—Vizcaya 
Boats at ANCHOR 
DERELICTS 

THE Poot 


Muppy ALLIGATORS 


68 
69 
7° 


al 


Tue Basin—VIzcaya 
Tue Locc1a—VIzcayYya 
Tae BarHers 


THe TERRACE—VIZCAYA 


Tue Patio—ViIzcava 


Loaned by Worcester Art Museum 


9? 





Tue Mist. Loaned by Mrs. Ff. D. Blanchard 














Loaned by 
Mrs. Inches, Boston 





41 Portrait of Mrs. Henry WsirE—NEE MarGAReET Loaned by 
STUYVESANT RUTHERFORD Honorable Henry White 


“J 16 f 











11 Portrait of Mrs. Fiske WARREN AND DAUGHTER Loaned by Fiske Warren, Esq. 


iby fe 


31 Portrait of Mr. anp Mrs. FIELD Loaned by 
Pennsylvania Academy of Fine Arts 





Portrait of Miss Mary ExizaBeTH GARRETT Loaned by 
Fohns Hopkins University 


«] 19 F 





7 Portrait of PResipentT LowELi Loaned by 
Harvard University 





3 
@ 
‘ 
z 
4 


6 Portrait of Ex-Prestpent Cuaries W. ELtort, 
ForMERLY OF Harvarp UNIVERSITY 


“| Zi F 





Loaned by 
Harvard University 





Phelps Stokes 


Loaned by 


Mr. 


PHELPS STOKES 


N 


. 


I 


f Mr. anv Mrs. 


The ) 


58 Portra 





2 Tue Lapy witrH THE Rose—My Sister (1882) Loaned by Mrs. Hadden 


| DR ic 


5 Portrait of Major Hiccinson Loaned by 
Harvard University 





Loaned by 
Mr. Alan Marquand 








33. Portrait of Mrs. Aprran IseELIN Loaned by 
Miss Iselin 





30 «Portrait of Miss Apa REHAN Loaned by 
Mrs. G. M. Whitin 


29 Portrait of Joun Hay, Esa. Loaned by 
Mr. Cicrence L. Hay 








1Le 


Loaned by 
Mrs. Wh 


WILLIAM WHITE 


yi 


f Mrs. 


1t o 


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=) 
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a 





29 & 


Portrait of Mrs. THomas Lincotn Manson Loaned by 
Mrs. Kiliaen Van Rensselaer 





22 Sketch of Mrs. Aucustus HEMENWay Loaned by 
Mrs. Hemenway 





1UIaBAVS “AY 
&q pauvoT 


ONIYALIONNOOAY Bl 





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kg pauvoT VUVH,O IAVT «8 





Loaned by 


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14 


Museum of Fine Arts, Boston 





2440, HH saul, AN 
Aq PIuv0O'T GUVALUNOT HSINOOJ] 1S 





17 Heap or JOSEPH JEFFERSON Loaned by 
Mr. Sargent 


a 
sm 





19 Portrait of JosepH Putirzer, Esa. 





trait of GENERAL LeEonarp Woop Loaned by 
cee ae General Wood 





Loaned by 
Mrs. Hadden 


1 Portrait of Mrs. H. F. Happen (1878) 





Loaned by 
Mrs. Phipps 


Be 
Nn 
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ise) 





Loaned by 
Mr. Robinson 





42 Sketch of Mrs. Henry WuirE—NEE MARGARET Loaned by 
STUYVESANT RUTHERFORD Honorable Henry White 





45 Portrait of Homer Saint-GaupEns AND MoTHER Loaned by 
Mrs. Saint-Gaudens 


J 43 |» 





Loaned by Mrs. Phipps 





Portrait of Mrs. Epwarp L. Davis anp_HER Son, Loaned by 
Livincston Davis Mr. Livingston Davis, Boston 


“] 45 F 





43 Portrait of Mrs. Joun J. CHapMan Loaned by 
Mrs. Richard Aldrich 





—ntere 





37 Tue SutpHur Marcu Loaned by 
Mr. Louis Curtts 





«J 47 |e 














Facts Concerning This Exhibition 


N bringing together this retrospective exhibi- 
tion of Mr. John Sargent’s important works 
in this country, we feel that we are rendering 

a service to the American people. 


It is unquestionably the most important and most 
valuable collection ever assembled by a Living 
Artist, and it is interesting to note that the insur- 
ance policy placed on the collection amounts to 
nearly a million dollars. 


The Grand Central Art Galleries is a no profit 
organization and its efforts are dedicated solely to 
the interests of the living American Artists.” 


Mr. John Singer Sargent has personally selected 
and approved all of the paintings in this exhibition 
and in choosing this Gallery he has greatly honored 
this organization. 


An Invitation granting free admission to the ex- 
hibition to Art Students is being sent to all of the 
leading Art Schools; an admission charge to all 
others, to defray the cost of the exhibition, will 
be made. 














FRAMES designed by M. GRIEVE COMPANY 


155 EAST FORTY-SECOND ST., NEW YORK 


Branch: LONDON, ENGLAND 











Specialists Importers of 
eel Genuine 
Anti 
Framing eae 
Gilt Carved 
of 
Wood 
Old Master Paintin g 
Pictures Frames 





Pat. 3215 Italian 16th Century Pat. 3014 Flemish Gothic 16th Century 


Address After May Ist, 1924: 234 East 59th Street 
| 49 


FRAMES designed by M. GRIEVE COMPANY 


155 EAST FORTY-SECOND ST., NEW YORK 


Branch: LONDON, ENGLAND 


Pat. 1877 Spanish 18th Century 








Pat. 3455 Spanish 16th Century 











Pat. 3095 Spanish 16th Century 


Pat. 1751 Spanish 17th Century 


Address After May Ist, 1924 


234 East 59th Street 


| 50 & 


Two Centuries of Frame Making 


In the year 1721 in a small Flemish village lived Grieve, a famous maker 
of masterful picture frames; whose sole ambition was to please the tastes of 
the great painters of his time. 


The best mid-eighteenth century frames were made by him and his 
disciples. Grieve was the first to conceive the possibilities in his chosen field 
and to realize that a painting to be rightly appreciated had to be surrounded 
by a frame chosen artistically and with due regard to the effect of the painting 
on the spectator and of the whole as a work of art. 


Neither chance nor fashion entered into their construction. On the 
contrary, they were the result of a distinctive aesthetic sentiment for the 
beautiful in conjunction with an almost scientific appreciation of what would 
enhance the intelligent understanding of the picture. 


The demand at that time was so insistent that Grieve was obliged to 
teach the tedious task of gilding and wood-carving to the members of his 
immediate family; from that moment began this great family of frame makers. 


Not content with their conquest in Belgium, the Grieves moved to 
London, which offered them a larger opportunity, and established there a 
still more progressive branch of the parent institution. 


As is the case with all progressives, they were constantly on the watch 
for new fields to conquer and as America seemed particularly inviting, M. 
Grieve the youngest of the family, moved to New York and established the 
largest hand-carved wood frame factory in the world. 


The Grieve of old still lives, and the sacred flame which he kindled 1s 
still kept burning by the single American representative of this great family 
of frame makers. 


The American Grieve has progressed with the times. He has revolution- 
ized the ancient art of his forefathers to conform with the demands of modern 
times; he has perfected a method of manufacturing through quantity pro- 
duction the same quality of art frames which the Grieves before him carved 
out laboriously at considerable expense. 





That the GRIEVE Frame adds quality to your picture 1s a fact which 1s 
recognized by the foremost Art Dealers and Painters in this Country. 





Importers of Genuine Antique Gilt Carved Wood Painting Frames 


Specialists in the Framing of Old Master Pictures 


Address After May Ist, 1924: 234 East 59th Street 
‘| 51 ie 

















Macbeth Gallery 


15 East Fifth-seventh Street 


e 


Founded in 1892 for the Exhibition and Sale 
of 
Paintings by American Artists 
7 
“ART NOTES” and Catalogues of Exhibitions 
mailed on request 


e 


William Macbeth 


LNcG.OcR PO RoAvISE.D 








| 52 EF 


Painted by G. Morland FOX HUNTING Engraved by E. Bell 


KENNEDY & CO., 693 FIFTH AVENUE, NEW YORK 


(Successors to H. Wunderlich & Co.) 
FINE OLD ENGLISH COLOR PRINTS OF 
SPORTING, HUNTING, SHOOTING and NAVAL SUBJECTS 
RARE cAMERICAN HISTORICAL PRINTS 
FINE ETCHINGS BY OLD AND MODERN MASTERS 











Important Exhibition 
WATER COLOR DRAWINGS 


By FRANK W. BENSON 


and RARE TRIAL PROOFS 


OF HIS 


ETCHINGS AND DRY-POINTS 





«| 53 FE 


DURAND-RUEL 
“Paintings 


PARIS NEW YORK 
16 RUE LAFFITTE 12 EAST 57TH STREET 











JOHN LEVY GALLERIES 


“Paintings 


559 FIFTH AVENUE 


28 PLACE VENDOME 
PARIS 

















GORHAM 


Bronzes by 


American Sculptors 


Large and Small Pieces 
cast of the finest material 
in the Gorham Foun- 
dries, and exhibited at 
the Gorham Galleries 


FIFTH AVENUE AND 36th STREET 
NEW YORK 


«| 55 ic 




















EARLY CHINESE ART 


ica ovoid-shaped Vase of light buff pottery, 
having its two loop handles at the base of the neck 
connected by a collar. The opalescent glaze of old 
turquoise-blue is minutely crackeled and encrusted with 
reddish earth. The lip, which has been broken, is 
encased in a copper band. The glaze completely 
covers the vase, including the base, which is slightly 
concave. The form of this jar is truly noble and the 
beauty of its glaze is impossible to describe. Persian 
influence on Chinese art is here especially noticeable, 
for this specimen might easily be taken for a fine piece 
of Rakka ware. Tang Dynasty: 618-906 A. D. 
Height: 13 inches. Greatest diameter: 10 inches. 


FarishWatson & Coin. 
500 Fifth Avenue 
ew York 


Old Chinese Porcelains and Sculptures Archaic Chinese Bronzes and Jade Rare Persian Faience 





























P. JACKSON HIGGS 


ELEVEN EAST FIFTY-FOURTH STREET, NEW YORK 


Morbo of At 
QS 


OLD MASTERS -:- RENAISSANCE BRONZES -:- TAPESTRIES 
GREEK AND ROMAN EXCAVATIONS 


NOW ON EXHIBITION 


CAmerican Representalive of’ 


THE BACHSTITZ GALLERY 
Holland 


The 












































Charles Scribner’s Sons || ‘| Fifth Avenue, New York 


A Group of Notable Books on Art 


REMBRANDT AND HIS SCHOOL. By Prof. Jonn C. Van Dyxe. Limited to 1,200 copies $12.00 
EDWIN AUSTIN ABBEY. The Record of His Life and Work. By E.V. Lucas. 200 illus. 2 vols. $30.00 
AMERICAN ARTISTS. By Roya. Cortissoz. Illustrated $3.00 


NEW GUIDES TO OLD MASTERS (The Galleries of Europe). By Prof. Joun C. VAN DyKE 
LONDON—National Gallery, Wallace Collection. $1.25. PARIS—Louvre. $1.25 
AMSTERDAM—Rijks Museum; THE HAGUE—Royal Gallery; HAARLEM—Hals Museum. $1.25 
ANTWERP—Royal Museum; BRUSSELS—Royal Museum. $1.25 
MUNICH—Old Pinacothek; FRANKFORT —Staedel Institute; CASSEL—Royal Gallery. $1.25 
BERLIN—Kaiser Friedrich Museum; DRESDEN—Royal Gallery. $1.25 
VIENNA—Imperial Gallery; BUDAPEST—Museum of Fine Arts. $1.25 





The Universal Art Series Th 
Each volume profusely illustrated € 


LANDSCAPE PAINTING. By C. Lewis Hinp $8.50 Scribner Bookstore 
Vol. I. From Giotto to Turner. 


MODERN MOVEMENTS IN PAINTING. By Cuartes Marriotr $7.50 

DESIGN AND TRADITION. By Amos Fenn. $8.50 for Rare B ooks 

THE ART OF ILLUSTRATION. By E. J. Sutiivan $8.50 on the Fine Arts 

SCULPTURE OF TO-DAY. By KINETON ParKEs 
Vol I. America, Great Britain, Japan $8.50 Rare and unusual volumes on Amer- 
Vol. II. Continent of Europe $9.50 ican, English, Continental, and Ori- 

ental painters and paintings, such 


General History of Art Series as: 


Each volume is written by a representative authority and contains between THE WORK OF JOHN SINGER 
500 and 600 illustrations, reproduced from carefully selected originals. SARGENT. With an imtroduc- 
$3.00 each tory note by AticE MEYNELL 


ART IN GREAT BRITAIN AND IRELAND. By Sir WaLtreR ARMSTRONG Bope’s COMPLETE WORK OF 
ART IN NORTHERN ITALY. By Dr. Corrapo Ricct1 REMBRANDT 

ART IN FRANCE. By G. Masprro 
ART IN FLANDERS. By M. Max Rooses Armstronc’s GAINSBOROUGH 
ART IN SPAIN AND PORTUGAL. By Marcer DiEuLaroy SIR JOSHUA REYNOLDS. By 


WALTER ARMSTRONG 


Classics of Art Series Petrucci, ENCYCLOPEDIE DE 
A library of art specially distinguished by profuseness and completeness of illus- LA PEINTURE CHINOISE 


tration, in full-page plates. Micuet, HISTOIRE DE L’ART 
CHARDIN. By Hersert E. A. Furst. 45 plates $7.00 12 volumes 

DONATELLO. By Maup Crurtwe tt. 81 plates $6.25 
FLORENTINE SCULPTORS OF THE RENAISSANCE. By Wr.- 

HELM Bope, Ph.D. $6.00 
LAWRENCE. By Sir WALTER ARMSTRONG. 41 plates $6.50 
MICHELANGELO. By Geratp S. Davies. 126 plates $7.50 
RAPHAEL. By A. P. Oppre. 200 plates $7.50 
REMBRANDT ETCHINGS. With 330 examples. By A. M. Hinp. 2 vols. $12.00 
ROMNEY. By A. B. CHAMBERLAIN. 72 plates $7.00 
TINTORETTO. By Evetyn Marcu Puittiipps. 61 plates $6.25 
TITIAN. By Cuartes Ricketts. 181 plates $9.75 
TURNER. By A. Finserc. 100 plates $6.00 
VELASQUEZ. By A. pvr BerutTre. 94 plates $7.50 








Contemporary British Artists 
Edited by ARTHUR RUTHERSTON 
Each volume with about 35 plates. $2.00 each 


GEORGE CLAUSEN PAUL NASH WILLIAM NICHOLSON 
AUGUSTUS JOHN WILLIAM ORPEN WILLIAM ROTHENSTEIN 








Two Books on Oriental Art 


JAPANESE COLOUR PRINTS Scribner Books at All Bookstores. 
By Laurence Binyon and J. J. O’BRIEN SEXTON AM Boake ae the Seribnee: Bookstore 
With 16 plates in color and 28 in balf-tone, illustrating more than 50 prints $25.00 


AN INTRODUCTION TO THE STUDY OF CHINESE PAINTING 
By ArtuurR WALEY, Assistant in the British Museum. With 50 plates. $20.00 


Fifth Avenue at Forty-eighth Street 








| 57 EF 





ARTISTS FRAMING CO.,, inc 
PICTURE FRAMES 


of 


HIGHEST QUALITY 


57 East 59th St., 


J. LOWENBEIN, Pres. 





New York 


PLAZA 1680 











t, game 


JEAN FRANCOIS GROLIER 
Master Printer of the Sixteenth Century 











(os the 
crude methods of 


printing used in the 


Sixteenth Century 
with the modern craft- 
manship which en- 
ables us to produce a 
book of this character. 


af 


Chelsea 8053-54 


The Grolier Craft Press 


INCORPORATED 
229 West 28th Street 
NEW) “Y O:R-Ke Citta 











“| 58 F 














We Buy Paintings 


Inness Thayer 
Wyant Robinson 
Martin Moran 
Homer L’Hermitte 
Fuller Israels 
Blakelock Corot 
Twachtman Dupre 
Weir Jacque 
Remington Diaz 
Ryder Daubigny 
Duveneck Rousseau 


Murphy Cazin 


AINSLIE GALLERIES 


677 FIFTH AVENUE, NEW YORK 
ESTABLISHED 1885 
































CRICHTON tt. 


Goldsmiths and Silversmiths 
New York~ 636, Fifth Avenue (corner of 515t Street} 
Chicago~ 618 So. Michigan Avenue. 


RICHTON Reproductions 

made in London are faith- 
ful copies of classic patterns, 
which maintain the high ; > ) ; y 
standards of the Early English fe a. | oer Dy 
master silversmiths. Distin- . 
guished originals, in old 
English, Irish and Scottish 
Silver are included in the 

Crichton collection. 










































































FRENCH & COMPANY 
Works of cArt | 


6 EAST 56TH STREET, NEW YORK 





ANTIQUE TAPESTRIES VELVETS 
EMBROIDERIES FURNITURE 
DECORATIONS 

















Wayman Adams 
Gifford Beal 

George Bellows 

George De Forest Brush 
Bruce Crane 

Elliott Daingerfield 
Thomas W. Dewing 
Nicolai Fechin 

Leon Gaspard 

Albert Groll 


The Milch Galleries 


Dealers in American 
Paintings and Sculpture 


Childe Hassam 
Robert Henri 
Hobart Nichols 
Gari Melchers 
Willard L. Metcalf 
William Ritschel 
Eugene Speicher 
D. W. Tryon 
Horatio Walker 
Guy Wiggins 


F. Ballard Williams 


Max Bohm 

R. A. Blakelock 
Gedney Bunce 

Henry Golden Dearth 


Winslow Homer 


George Inness 

J. Francis Murphy 
Abbott H. Thayer 
John H. Twachtman 
J. Alden Weir 


A. H. Wyant 


108 WEST 57th STREET, 





NEW YORK CITY 




















Ehrich Galleries 


707 Fifth Avenue 
At Fifty-fifth Street 
New York 


e 


Paintings by Old Masters 




















PAINTINGS of DISTINCTION 


cAmerican and European 


DUDENSING GALLERIES 


45 WEST 44TH STREET, NEW YORK 


























eA IN. C-©-E IN 


MOTOR CARS 


Cabriolet De Luxe 
Body by Le Baron 


THE LINCOLN GALLERIES 


PARK AVENUE AT FORTY-SIXTH STREET 


PARK CENTRAL MOTORS, Inc. 
VANDERBILT 9761 


MEMBER PARK AVENUE ASSOCIATION 














“SS he Sibayien of Wedding Corian 








Exclusive Gifts 





Miss E. A. Higgs Mrs. F. M. Carleton | i 
21 East Fifty-fifth Street, New York | 















































Peter A. Juley G Son 


Photographers of Fine Arts 
Since 1896 


219 East 39** Street-New York City 


Telephone: 
Vanderbilt 
3494 














“ 64 - 








painted for the 
Steinway 

_ Collection 

BY Xe WYETH 











STEINWAY 


THE INSTRUMENT OF THE IMMORTALS 


CCASIONALLY the genius of man 
produces some masterpiece of art— 

a symphony,a book, a painting —of such 
surpassing greatness that for generation 
upon generation it stands as an ideal, 
unequaled and supreme. For more than 
three score years the position of the 
Steinway piano has been comparable to 
such a masterpiece—with this difference: 
A symphony, a book, a painting, once 


given to the world, stands forever as it 
is. But the Steinway, great as it was in 
Richard Wagner’s day, has grown greater 
still with each generation of the Steinway 
family. From Wagner, Liszt and Rubin- 
stein down through the years to Pade- 
rewski, Rachmaninoff and Hofmann, the 
Steinway has come to be “‘the Instrument 
of the Immortals” and the instrument of 
those who love immortal music. 


Steinway & Sons and their dealers have made it conveniently possible for music lovers to own a Steinway. 
Prices: $875 and up, plus freight at points distant from New York. 


STEINWAY & SONS, Steinway Hall, 109 E. 14th Street, New York 














THE RESTAURANT SURPRISE FAMILIAR 
TO THE CONTINENTAL TOURL/S T 


Wie) PAN 


375 PARK AVENUE 
ENTRANCE 53:3 ST. NEW YORK 





Correct Lighting of Valuable Paintings 









Correct illumination is as necessary for the valuable painting in the 


home as for those in the great galleries. 


FRINK REFLECTORS 


are scientifically designed to fulfill this purpose. Each picture is treated 
according to its characteristic requirements. Frink Lighting is used in 
such prominent galleries as the Freer Memorial Art Galleries as well 


as in many private galleries. 


PPE RU NNK” Ibeve. 


24th St. and 10th Ave., New York Branches in Principal Cities 





“J 66 F 




















The paintings 
in this exhibit are insured 
under a 
Fine Arts Policy 


with the 


Automobile 


Insurance Company 
of Hartford, Conn. 


affiliated with 


Aetna Life Insurance Company 
Aetna Casualty and Surety Co. 















































DeLANOY & DeLANOY 


INSURANCE 


TWO WALL STREET NEW YORK 




















LAVEZZO & BRO. Inc. 


‘DIRECT IMPORTERS OF 
ITALIAN ANTIQUE 
FURNITORESSAND 
WROUGHT IRON WORK 


154 EAST 54th STREET NEW YORK 




















ANTIQUE WORKS OF ART 


Furniture ‘Paintings 


Portrait painted in 1884 by “fohn S. Sargent 


KIRKHAM @ HALL 


31 East 57th Street, New York 


WILLIAM KIRKHAM GLENN HALL 

















Offering the 
American Masterpieces 


By Albert Pinkham Ryder 


Just transferred from the Metropolitan 
Museum of Art, New York 


Together with important works by 
A. B. Davies, J. Alden Weir, Frank 
Duveneck, H. G. Dearth, Theodore 
Robinson, John H. Twachtman, 
George Inness, Robert Spencer and 
famous sculptors. 








Exhibition of Works by Horatio Walker 
February 16th until March 4th, 1924 


MESSRS. PRICE and RUSSELL 
607 FIFTH AVENUE 
NEW YORK 


“FOREST OF ARDEN” By ALBERT P. RYDER 
From the A. T. Sanden Collection just acquired by Ferargil, Inc. 














PACKERS cA'ND MOVERS. OF VW OK ia CO reeet ae 


ESTABLISHED 1867 


W. S. BUDWORTH & SON 


COLLECTING AND PACKING FOR Peal 
ART EXHIBITIONS A SPECIALTY 


FELEPHONE , COLUMSE OSes 2i924 


424 West Fifty-Second Street New York City 








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“Marie Sterner Albert Sterner 


Under the direction of Marie Sterner (Mrs. Albert 
Sterner) The Art Patrons of America, Inc. will 
hold an Exhibition of American Paintings 
in London, Paris and Venice during 
the coming season. 


Americans going abroad, it is hoped, will patronize 
this Exhibition. List of Patrons and other par- 
ticulars upon request to Mrs. Muriel Boardman, 
Twenty-Two West Forty-Ninth Street, 
New York City. 


Mrs. Wm. Payne Thompson, ‘President 
Mrs. Egerton L. Winthrop, ‘Uice President 
Mts. Muriel Boardman, Secretary 
Alaric Simson, Treasurer 
Marie Sterner, “Director 

















INTERNATIONAL 


STUDIO | 


————___—_—_————— PEYTON BOSWELL, Editor 


UST as a gallery exhibition of the finest Ameri- 

can painting and sculpture is an inspiration and 
a source of rich enjoyment, so International Studio 
is for its readers a monthly exhibition of the signifi- 
cant art of all the world. Quality alone limits its 
field; painting, sculpture, architecture, the decora- 
tive arts, all of these in their most beautiful forms, 
make it truly America’s greatest art magazine. 


$——_—_—_—— Published Monthly by 


75 cents INTERNATIONAL STUDIO; INC eta 
the Copy 4g West 45th Street, New York the Year 


The ART NEWS 


An International Newspaper of Art 
PEYTON BOSWELL, Editor 


HIS periodical, unique of its kind in the world, is read 

by art lovers in scores of countries. It has subscribers 
in such distant lands as Japan, China, Siam, India, Aus- 
tralia, South Africa and Peru, and is especially looked 
upon as indispensable by art lovers of the United States, 
Canada, England and the Continent. 


Published Weekly from October 15 to ‘fune 30 
Monthly during Fuly, August and September 


$4.00 a year. $4.35 in Canada 


49 West 45th Street New York City 














ARLINGTON GALLERIES 


274 MADISON AVENUE 
Established 1908 


Thomas Sully 
George Inness 
A. H. Wyant 
Homer Martin 
Ralph Blakelock 
Robert Spencer 
Robert Reid 
Daniel Garber 
George Bellows 


CHARLES E. HENEY, PROP. 


Paintings of Quality by 


Bruce Crane 
Martha Walter 

Paul Cornoyer 

Gari Melchers 
Thos. Gainsborough 
le Ba @aGorot 

A. Schreyer 

Josef Israels 
Narcisse V. Diaz 


AND OTHER NOTED MASTERS 














CANVAS 


NEW YORK 
TEL. MURRAY HILL 3372 


Jules Dupre 
Chas. Jacque 
H. W. Mesdag 
Martin Rico 
Alfred Stevens 
J. G. Vibert 
ecazin 

C. F. Daubigny 


ARS the Artist what could be of greater value than knowing the 


foundation for his work is secure ? 


Devoe Canvas is manufactured from the finest raw materials and 


prepared by experts who with their years of experience are capable 


of producing Canvas as nearly perfect as possible for human 


hands to make. 


We also manufacture Artists’ Oil Colors, Brushes and Materials 
to meet the demands of both Professional and Amateur. 


Devoe & Raynolds Co., Inc. 


New York 


Chicago 











EC 


KENT-COSTIKYAN 


FOUNDED 1886 
485 FIFTH AVENUE—SIXTH FLOOR 
NEW YORK 


Opposite Public Library 
e 
IMPORTERS 


Antique and Modern Rugs 
from 


Persia, China, India and the Caucasus 


ev 


“Rugs woven to order in Orient 

















Arden Studios, Inc. & Arden Gallery 


Mrs. James C. Rogerson 


599 FIFTH AVENUE 


e 


Interior Furnishings and Decorations 





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Wood Paneling and Painting — Period Furnishings 
Hangings, Silks, Velvets, Cretonnes, Rugs, Carpets 
Original Treatment of Walls and Ceilings 


Painted Furniture from Exclusive Arden Designs 


e 


Interesting exhibitions bearing educationally upon 
Decorating and Furnishing are held at 
frequent intervals in Art Gallery 


Consultations with Mrs. Rogerson may be made by appointment 





ll 75 - 





REINHARDT 
GALEEBRIES 


Their New Address 


730 Fifth Avenue 
Corner of 57th Street 


New York 


PAINTING: 

















GROLIER (RAFT ‘PRESS, INC. 
NEW YORK 
















































































































































































































































































































| Qearls 


(ewe [s 


Ga rectous Sfones 


REI RE ReC™ 
560 fifth Avenue 


New Yorke 


PALM BEACH 
annette Building 


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M. KNOEDLER & CO. 


(ESTABLISHED 1846) 






High Class Paintings 


By Old and Modern Masters 







Select Water Color Drawings 


Old and Modern Etchings 
Old Engravings 






Old English Mezzotints and 
Sporting Prints 






Competent Restoring Artistic Framing 











LONDON PARIS _ 
15 Old Bond Street ‘17 Place Vendome 


NEW YORK 


| 556-558 Fifth Avenue 











SCOTT & FOWLES 
cArt Galleries 


667 FIFTH AVENUE 


Between 52nd and 53rd Streets 
NEW YORK CITY 


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“Paintings Drawings 


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BRONZES BY 
PAUL MANSHIP 





“LA 





